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Journal articles on the topic 'Nguni (African people)'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Mugumbate, Rugare. "From sankofa, tu, shosholoza to Ubuntu and umoja: a five-stage historical timeline of the philosophy of Africa and implications for education, research and practice." African Journal of Social Work 13, no. 3 (2023): 167–78. http://dx.doi.org/10.4314/ajsw.v13i3.5.

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There is no comprehensive history of Africa’s philosophy for reasons including colonisation and neo-colonisation that resulted in its philosophy’ neglect and under-studying compared to Eastern, Middle-Eastern and Western philosophies. In this article, the timeline of Africa’s philosophy has been divided into five stages – sankofa, tu, shosholoza, Ubuntu and umoja. Sankofa is a stage where less is known, although, by looking at the history of the different groups of Black Africans – the Bantu, Kush, Nile-Sahara, San, Khoi Khoi, Hadza, Sandawe, Mbenga, Mbuti and Twa – we learn that they had rela

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Hankela, Elina. "Elaborating on ubuntu in a Johannesburg inner-city church." Scripta Instituti Donneriani Aboensis 26 (April 13, 2015): 366–78. http://dx.doi.org/10.30674/scripta.67462.

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The article was originally delivered as the speech of the winner of the 2014 Donner Institute Prize for Outstanding Research into Religion, and deals with some core findings of the research that won the prize, namely, the doctoral thesis Challenging Ubuntu: Open Doors and Exclusionary Boundaries at the Central Methodist Mission in Johannesburg. The author approaches the meanings of ubuntu (Nguni: humanity/humanness) in the context of a Methodist church that sheltered thousands of African migrants in its premises in the inner city of Johannesburg. Using ethnographic research methods, she analys

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Ohia, Ben-Fred. "African Literature and The Protest Novel: Neo-Nationalism in Ngugi Wa Thiong’o’s Weep Not Child." British Journal of Multidisciplinary and Advanced Studies 4, no. 6 (2023): 1–8. http://dx.doi.org/10.37745/bjmas.2022.0343.

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Every literary writer belongs to a particular society; he writes to reflect the conditions of that society. Therefore, African literature captures the African temperament. This paper attempts an analysis of Ngugi Wa Thiong’o’s Weep Not Child. Colonisation turns people into objects in order for the colonialists to facilitate their manipulation and the handing over power to Africans with a hope that this group of Africans will change the cause of events. The inability of these leaders to perform to expectation leading to a period of transition from colonialism to neo-colonialism necessitated the

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Huffman, Thomas N. "Archaeological evidence and conventional explanations of southern Bantu settlement patterns." Africa 56, no. 3 (1986): 280–98. http://dx.doi.org/10.2307/1160685.

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Opening ParagraphThe settlements of Bantu-speaking people in Southern Africa vary widely in size and distribution, ranging from the dispersed homesteads of the Nguni to the large towns of the Tswana. These two extremes have interested Africanists since the beginning of the nineteenth century, when Europeans first encountered the Thlaping at Dithakong near present-day Kuruman. Today the contrast between Tswana and Nguni settlements are most often attributed to differences in social stratification, cultural preference or environmental conditions.These conventional explanations provide a focus fo

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Ordu, Stanley, and Better Odukwu. "THEATRE: Ngugi and Revolution in The Trial of Dedan Kimathi." Journal of Social, Humanity, and Education 3, no. 1 (2022): 17–27. http://dx.doi.org/10.35912/jshe.v3i1.1036.

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Abstract: Purpose: The purpose of this work is to explore The Trial of Dedan Kimathi through the lenses of revolutionary aesthetics and class stratification as a kind of socio-literary participation. The book's exploration of the notion of revolution delves deeply into topics of tyranny, exploitation, and poverty. Numerous consequences emerged from the examination of the selected text. Research methodology: Theoretical Framework: Marxist literary theory guided the analysis of the study. Results: This research documents European aggression, economic exploitation of Africans, taxes and forced la

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Babacar Diakhaté. "Cultural Diversity, Ethnocentrism and Terrorism in Mukoma WA Ngugi’s Black Star Nairobi (2013)." Britain International of Humanities and Social Sciences (BIoHS) Journal 2, no. 2 (2020): 367–73. http://dx.doi.org/10.33258/biohs.v2i2.234.

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This article brings to light the obstacles that impede countries like Kenya to develop. In Black Star Nairobi, Mukoma WA Ngugi addresses cultural diversity issues and ethnic crisis. Like other African writers such as Chinua Achebe, Ngugi WA Thiong’o, Chimamanda Ngozi Adichie, Mukoma WA Ngugi displays to what extent Kenyans are tied to their cultures, traditions and ethnics. He demonstrates how ethnocentrism can have an impact on the socio-political activities of his people. He also pinpoints the drawbacks engendered by ethnocentrism like radicalization, terrorism and illegal immigration.

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Snedegar, Keith. "First Fruits Celebrations Among the Nguni Peoples of Southern Africa: An Ethnoastronomical Interpretation." Journal for the History of Astronomy 29, no. 23 (1998): S31—S38. http://dx.doi.org/10.1177/002182869802902304.

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Uneke Enyi, Amaechi, and Edwin Chiekpezie Orji. "Lexical Cohesion in Non-fictional Narrative as Discourse: A Study of Ngugi Wa Thiong’O’s Decolonizing the Mind." International Journal of Education and Literacy Studies 7, no. 3 (2019): 83. http://dx.doi.org/10.7575/aiac.ijels.v.7n.3p.83.

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The study was a linguistic examination of the use of lexical cohesive devices in Ngugi Wa Thiong ’O’s Decolonising the Mind- an autobiography. The study was aimed at revealing how Ngugi - an African L2 writer, deployed lexical cohesive devices to achieve cohesion and coherence and how this has contributed to the meaning of his non- fictional essay. The study was guided by the theoretical framework of Halliday’s tripartite metafunctions of language: the ideational, the interpersonal and the textual, with closer inclination to the textual metafunction that deals with text creation. Cohesion is u

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Haileab, Isaias. "Postcolonial Psyche in English Novels from India and Africa." International Journal of Linguistics 4, no. 2 (2023): 1–10. http://dx.doi.org/10.47604/ijl.1861.

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Purpose: Postcolonial Themes in English Novels from India and Africa is a thematic analysis of four novels, two from India and two from Africa. The novels are: Anita Desai’s Cry the Peacock, Salman Rushdie’s Midnight’s Children, Chinua Achebe’s Things Fall Apart, and Ngugi Wa Thiongo’s Matigari. They represent the vast postcolonial writing which has emanated from these two lands as a result of the disaffection that indigenous writers felt that colonialism had exacted on their people, culture and literature. The novels stand out in their treatment of the postcolonial themes of conflicts between

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YASSIN MOHD ABA SHAR’AR, Mohammed, and Chamaiporn BUDDHARAT. "THE KNACK OF NARRATION: A POST-COLONIAL CRITIQUE IN NGUGI WA THIONG’O’S WEEP NOT, CHILD." Ezikov Svyat volume 19 issue 2, ezs.swu.v19i2 (May 1, 2021): 74–84. http://dx.doi.org/10.37708/ezs.swu.bg.v19i2.9.

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The downfall of the European colonialism in the African and Asian colonies was not the end of the colonial hegemony, but the beginning of indirect imperial policies. In a unique narrative style, Ngugi has creatively fictionalized his anti-colonial stand through creating characters with Kenyan names to voice his resistance to colonization. The methodology of this study is descriptive analysis. The paper analyzes critically Ngugi’s novel Weep Not, Child and shows how he implemented different narrative techniques (e.g. free indirect narration, freewheeling narrative technique, and author surrogat

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Nyarko, Gifty Akua, and Rita Ndonibi. "The Journey of Adoption and Adaptation: A Reading of The Tight Game, Sola Owonibi’s Translation of Akinwumi Isola’s Ó Le Kú." Yoruba Studies Review 7, no. 1 (2022): 1–16. http://dx.doi.org/10.32473/ysr.v7i1.131458.

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Language has long defined the discourse of African literature. Africa’s colonial experience has left its enduring legacy of colonial languages which have been imbibed to the detriment of the usage of indigenous African languages. Accordingly, even in the creation of literary works, the African writer has had to resort to the colonial languages as the medium of expression. Since it is implausible to think of the literature of a people outside the context of their languages, there has arisen a debate on the appropriate language that can be used in African literary expressions. One school of thou

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Alatrash, Muhammad K. "Decolonizing Neoliberalism: A Literary Critique of Western Influence in Ngugi Wa Thiong'o's Matigari." Journal of Language Teaching and Research 15, no. 1 (2023): 104–10. http://dx.doi.org/10.17507/jltr.1501.12.

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This paper analyzes Ngugi wa Thiong'o's novel Matigari through the lens of allegory, highlighting the critiques of the neoliberal socio-economic system imposed on many African countries after independence. The paper examines the impact of Western influence on African countries, perpetuating class segregation, gender and labor violence, and socio-economic injustice. The paper argues that Matigari can be read as a counter-narrative to the neoliberal system that disempowers the local masses economically, socially, and politically. Moreover, the character of Matigari serves as a catalyst for the r

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Gautam, Shreedhar. "Political Consciousness in the Select Works of Chinua Achebe, Ngugi Wa Thiong’o and Richard Wright." Harvest 2, no. 1 (2023): 87–92. http://dx.doi.org/10.3126/harvest.v2i1.54410.

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This paper introduces three writers Chinua Achebe, Ngugi Wa Thiong’o and Richard Wright to explore the socio political consciousness reflected in their select works. The first two writers come from African countries which have gone through the experience of colonialism and neo-colonialism that resulted in common social, political and economic problems. As a result, the literature that emerged from these countries has a unifying theme despite diverse sociological contexts. Richard Wright, with an African origin, is a prominent black writer from America. It is evident from wright’s writings that

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Babacar Diakhaté. "Colonial and Neocolonial Domination and Alienation: Consequences and Strategies of Resistance in Ngugi Wa Thiong’o’s and Mecere Githae Mugo’s the Trial of Dedan Kimathi (1976)." Britain International of Humanities and Social Sciences (BIoHS) Journal 3, no. 1 (2021): 1–7. http://dx.doi.org/10.33258/biohs.v3i1.351.

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Many African political officials have become famous for their political actions, determination, and strong commitment against colonialism, imperialism and even neo-colonialism. In Kenya, Ngugi WA Thiong’o and Mecere Githae Mugo fictionalize the story of Dedan Kimathi. The Trial of Dedan Kimathi (1976) retraces the life of the hero, Kimathi, who leads the Mau Mau movement against British colonizers. Kimathi is imprisoned because of his own brother Wambararia who betrays his people to become free. Whites’ collaborators and neo-colonial actors such as politicians, Business executives and the Chur

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Ukpokodu, I. Peter. "Theatre and Political Discord: Theatre Rebels of Zimbabwe and Kenya." Theatre Research International 23, no. 1 (1998): 38–43. http://dx.doi.org/10.1017/s0307883300018198.

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Though the world is aware of the political activities of the Nigerian playwright, Wole Soyinka, it might be difficult to find a better example of the relationship between a nation in a state of socio-political chaos and the arts in an African country than that of Ngugi wa Thiong'o's Kenya as exemplified in Matigari:Matigari, the main character [in Ngugi wa Thiong'o's Matigari], is puzzled by a world where the producer is not the one who has the last word on what he has produced; a world where lies are rewarded and truth punished. He goes round the country asking questions about truth and justi

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Ordu, Stanley. "Symbolic characters and class struggles in Ngugi’s wa Thiongo’s Petals of Blood." Journal of Social, Humanity, and Education 2, no. 2 (2022): 129–39. http://dx.doi.org/10.35912/jshe.v2i2.831.

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Abstract Purpose: Every piece of art must, without a doubt, make a statement about itself. This is due to the fact that the more attractive something is, the more symbolic it becomes. Almost all works of art have multiple interpretations. Every great work of literature contains symbols, which add depth, meaning, strength, and dexterity to the work. Research methodology: Two theoretical frameworks, postcolonial and Marxist literary theories, guided the analysis. And this is a qualitative study. Results: The results of this investigation demonstrate that colonial injustice and unmodified colonia

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Okunoye, Oyeniyi. "Dramatizing Postcoloniality: Nationalism and the Rewriting of History in Ngugi and Mugo's The Trial of Dedan Kimathi." History in Africa 28 (2001): 225–37. http://dx.doi.org/10.2307/3172216.

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History is not the past: it is a consciousness of the past used for present purposes. (Greg Dening)After empire, it was clear the history of the colonised needed repair. (Elleke Boehmer)This paper identifies history as a major site for identity-formation in the postcolonial world. It draws attention to some strategies of historical reconstruction in African drama by focusing on Ngugi and Mugo's The Trial of Dedan Kimathi, an influential Kenyan play which has also come to be seen as providing a paradigm for the African historical play. Particular attention is drawn to the fact that the play is

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Ahmed, Shirin Kamal. "THE QUEST FOR UTOPIA IN BLACK THEATRE: AN ANALYTICAL STUDY OF NGUGI WA THING’O’S THE BLACK HERMIT." Journal of Tikrit University for Humanities 30, no. 5, 1 (2023): 1–20. http://dx.doi.org/10.25130/jtuh.30.5.1.2023.23.

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Utopia, the idea of a perfect society, has been a central theme in literature, philosophy, and art for centuries. The desire for utopia has inspired countless visionaries and reformers, who have sought to create a better world through various means, such as religion, ideology, science, or art. However, utopia has also been criticized and ridiculed as an impossible or even dangerous dream, that distracts us from the reality of our imperfect and flawed world. Ngugi Wa Thing’o, a prominent Kenyan writer and activist, has addressed the theme of utopia in many of his works, including his play

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Pollard, R. "Ethnic Variation of Twinning Rates in Malawi." Acta geneticae medicae et gemellologiae: twin research 45, no. 3 (1996): 361–65. http://dx.doi.org/10.1017/s0001566000000957.

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AbstractMalawi is a country in South-East Africa with a population of approximately 10 million, over 95% of whom are negro of Bantu origin. The country is divided into 24 administrative districts, each of which provides details of births which are compiled centrally at the Ministry of Health. Using data reported annually by health facilities from 1987-1990, most districts had twinning rates in the range 16 to 24 per 1000 maternities, figures consistent with those of other negro populations in Africa. Two adjoining districts (Rumphi and Mzimba) had rates which were considerably higher, almost 3

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Ohia, Dr Ben-Fred. "A Literary Analysis of Oral Tradition in Ogba Cosmology." Journal of Humanities,Music and Dance, no. 36 (September 23, 2023): 11–17. http://dx.doi.org/10.55529/jhmd.36.11.17.

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The whole world in Ogba cosmology exists for man’s sake and the universe is divided into two: the visible and invisible parts (the heaven or sky and the earth). The sky is the invisible as well as the underworld that is below the earth, while the earth is visible part. Ogba people believe in the link between earth and heaven which they reflect in their oral traditions. This paper analyses the oral tradition of the Ogba people; their origin, religion, belief system and their functions and relevance to human experience. And to achieve this, a brief analysis of Ngugi Wa Thiongo’s Devil on the Cro

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Duan, Jing. "Sound Presentation of the Silent History: Orature in Yvonne Vera’s The Stone Virgins." CEA Critic 86, no. 2 (2024): 109–22. http://dx.doi.org/10.1353/cea.2024.a931451.

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Abstract: In her novel The Stone Virgins , Zimbabwean author Yvonne Vera provides a model of orature writing by using sound in the interaction between literature and history as well as literature and politics. This essay will principally draw on the ideas of Kenyan author Ngugi Wa Thiong’o as well as Roland Barthes’ ideas about listening to analyze this effect. As a medium of oral tradition that carries traditional aesthetic and cultural values throughout the text, sound and its spatiotemporal framework establish an interpretative community among the author, the character, and the reader. In t

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Subaha Benitta, N., and D. Srija. "A Postcolonial Study: Abolition of Native Language by Invaders in Munshi Premchand’s My Elder Brother." Shanlax International Journal of English 11, no. 1 (2022): 90–93. http://dx.doi.org/10.34293/english.v11i1.5317.

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Munshi Premchand was one of the prominent Indian Writers in Hindi and Urdu. His works were mainly focused on important social issues of his period. This study analyses his work “My Elder Brother” where he depicts the relationship of two brothers. He explains the divergence between them. This attitude indicates that he also had a different opinion than other writers. Because, other writers preferred to write in English language. But, he used to write in his native language. This study examines how Indians are easily adopted to English language. Through the character of Elder brother, it was und

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Stuart Mogg, David T. "The Chamare Museum, Mua Mision, Malawi." African Research & Documentation 75 (1997): 1–4. http://dx.doi.org/10.1017/s0305862x00016046.

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The gradual opening of the Chamare Museum at Mua Mission over a period of many weeks during the mid-summer of 1997 most naturally reflected its prolonged periods of conception and gestation, exceeding thirty years and more in total. For such represents the period of time that the guiding light and moving spirit behind this truly epic work of ethnological scholarship, Claude Boucher, has been acquiring his deep knowledge, love and understanding of the complex, ritual-imbued lives of the surrounding Chewa, Ngoni and Yao peoples of central Malawi. As the culmination of this extended process of in

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Shahwan, Saed Jamil. "The Source and Different Types of Conflict in “The River Between”." Asian Social Science 15, no. 2 (2019): 27. http://dx.doi.org/10.5539/ass.v15n2p27.

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“The River Between” is more concerned with the Africans’ exploitations by the Whites and the adverse colonization impact on Kenya’s culture. However, this cultural clash brought about by the traditional and colonial interests’ interactions is well illustrated in the novel. The novel “The River Between” by Ngugi Wa Thiong’o is based on the theme of conflict. This article, therefore, demonstrates the sources of conflict and it portrays how the conflict between the Makuyu and the Kameno communities. The article begins with the story of river Honia as a source of conflict between the two communiti

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Ohia, Dr Ben-Fred. "Explication of Ogba Proverbs as a Tool for Conflict Resolution." Journal of Humanities,Music and Dance, no. 43 (May 1, 2024): 1–10. http://dx.doi.org/10.55529/jhmd.43.1.10.

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Proverbs originated orally based on the oral literature history of storytelling passed down from generation to generation through stories and sayings. However, some believed that they originated from written scripts. Proverbs are words of wisdom used to impart knowledge to people. In Ogba, proverbs are used predominantly by the elders to warn, advice, instruct and educate on issues of paramount importance to the society. Proverbs elu are epigrammatic in nature and usually misunderstood as idiom olu-eknurnu. Proverbs elu often use figures of speech, such as metaphors, similes or allusions to ma

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Chabu, Martin. "A History Of The Dutch Reformed Church Mission East Of Northern Rhodesia (Zambia) And Impact On The Development Of Colonial Societies 1897-1964." Shanti Journal 1, no. 1 (2022): 102–25. http://dx.doi.org/10.3126/shantij.v1i1.47811.

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This study attempts to examine the history of the Dutch Missionary in the eastern of Northern Rhodesia (Zambia) and the impact on the colonial society. The area of the study was Fort Jameson which is now known as Chipata District. The study focused on the period 1898-1964 because this period was characterized by changes in the economic organisation of the African societies not only in Northern Eastern Rhodesia, but also the whole country. Due to external influence this period under study was also marked by changes in social and political organisation of the people in the study region. Therefor

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Onyemelukwe, Ndubuisi H., Chidiebere E. Irolewe, Catherine O. Ogbechie, and Abosede O. Ogunnaike. "Literary cum Philoso-Religious Periscope on the Nature of Man." International Journal of English Linguistics 7, no. 6 (2017): 88. http://dx.doi.org/10.5539/ijel.v7n6p88.

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The self-evident truth that man is a mystery to himself generates justifiable intellectual curiosity. Giving expression to such curiosity would help to further unravel the mysterious nature of man by means of philoso-religious investigations into the personality of some purposively selected major characters in the literary works of prominent African and non-African writers. Consequently, this study undertakes to investigate some creative works of world-acclaimed fame. Purposively selected for the study in this regard include Profs. Chinua Achebe and Isidore Okpewho’s fictions, Prof. Ola Rotimi

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Mbogo, Fredrick. "What Does it Mean to be a Man? The Aesthetics of Telling Crisis’ and Conflicts in Ngebe Gaa and Detox." AM Journal of Art and Media Studies, no. 21 (April 15, 2020): 71–84. http://dx.doi.org/10.25038/am.v0i21.371.

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This paper is a reading of two films, namely, Ngebe Gaa (2019) and Detox (2016), in an attempt to discuss a supposed crisis of manhood in Eldoret, and the larger part of the North Rift Valley area of Kenya. The paper employs perspectives from canonical African works such as Okot P’Bitek’s Song of Lawino and Wole Soyinka’s The Lion and the Jewel, as well as Ngugi wa Thiong’o’s I Will Marry When I Want to uncover examples of the meanings of “man” in patriarchal settings but also in situations where shifts in economic, social and political life have taken place. In Ngebe Gaa, for instance, Mzee M

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Sibiya, Andzisani Prunnel. "Exploring the Use of an African Language in the Cinematic Sci-Fi Movie, Black Panther." E-Journal of Humanities, Arts and Social Sciences, June 28, 2024, 1037–44. http://dx.doi.org/10.38159/ehass.20245619.

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Black Panther is the first blockbuster science fiction film to be produced by Hollywood with a predominantly black cast, which places black people at the front and centre of futuristic worlds. The language used in Black Panther is the South African Nguni language, IsiXhosa. A survey of literature shows that there is scant research that has been done so far to explore the use of the African language and how the sci-fi movie preserves and promotes African languages, particularly isiXhosa. The aim of the study was to explore the use of the African language by young black South African viewers. Th

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-, Ashish Awasthi, and Dr Ram Prakash Gupt -. "Relevance of Nature in Ngugi wa Thiong’o’s The River Between: An Ecocritical Perspective." International Journal For Multidisciplinary Research 5, no. 5 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i05.6301.

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In all his writings Ngugi wa Thiong’o focused on the historical aspects of the African continent particularly Kenya. Through his writings, he always tried to reestablish the notions and beliefs which have been misinterpreted by Western writers and thinkers about the African continent and its people. Ngugi’s motif was to make the entire world aware of the rich culture, tradition, religion, myths, customs, and social norms of African people. African continent has been blessed with the prosperity of natural resources. Vast landscapes, waterfalls, rivers, dense forests, and deserts are abundantly

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Murundu, Rosemary Okayo. "The Power Play: Ferdinand Oyono’s ‘House Boy’ Through Michel Foucault’s Ideas of Power." Nairobi Journal of Humanities and Social Sciences 1, no. 2 (2017). http://dx.doi.org/10.58256/njhs.v1i2.377.

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The white man’s quest for power in Africa led to what Ngugi wa Thiong’o (1981) refers to as Colonizing and Decolonizing of minds. It is a power game that was perfected by the colonial administration in Cameroon to ‘rescue Africans from themselves’ as they take control over them and what belonged to them. This paper explores the manifestations and use of power in the novel houseboy by Ferdinand Oyono through the lens of Michel Foucault’s concept of power. The text depicts the black man’s plight on the hands of the colonial masters. Through Toundi’s diary, Oyono gives a detailed account of despe

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Ismail, Hisham Muhamad. "Colonialism and a history of oppression in Africa: Scenes from selected African novels." Research Journal in Advanced Humanities 4, no. 3 (2023). http://dx.doi.org/10.58256/rjah.v4i3.1249.

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Examining the African suffering during the colonialism period and describing the different miseries of the African people have been the core theme of almost all African and Western writers during the colonial age and post-colonial time. Undoubtedly, all of these writings fluctuate considerably between exaggeration and degrading the human sacrifices of those countries during this period. Then, the African writers started taking the responsibility of narrating their history and describing their suffering to correct many false ideas and assumptions, many false conceptions which were established i

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Degirmencioglu, Nesrin. "BONDAGE OF ‘INDEPENDENT’ NATIONS: NEO-IMPERIALISM IN NGUGI WA THIONG’O’S PETALS OF BLOOD AND INDRA SINHA’S ANIMAL’S PEOPLE." Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi, January 8, 2024. http://dx.doi.org/10.33171/dtcfjournal.2024.64.1.5.

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Both Ngugi wa Thiong’o’s Petals of Blood and Indra Sinha’s Animal’s People are mirrors reflecting the trajectories of neo-imperialism from the point of view of the victims suffering from the system. After independence, the colonialists are replaced by a national bourgeoisie who, without capital and economic power, become dependent on foreign investment. In both novels, the unprivileged poor are the victims of the neo-imperialist system which attracts multinational corporations to take advantage of low-cost land and cheap labour. Ngugi explores the subjectivity of African history as reflected b

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Mugo, Muhia, and Julius Gathogo. "The Use of Indigenous Resources in Environmental Conservation in Ngugi wa Thiong’o’s Murogi wa Kagogo: a religio-cultural perspective." Jumuga Journal of Education, Oral Studies, and Human Sciences (JJEOSHS) 1, no. 1 (2018). http://dx.doi.org/10.35544/jjeoshs.v1i1.1.

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Ngugi wa Thiong’o in Murogi wa Kagogo (Wizard of the Crow) seeks to reclaim the traditional conservation practices which have been destroyed by colonial modernity by building on the contributions of ancestral pantheons. The article argues that the place of the diviner cum medicine man played a central role in the conservation of the environment because of the physical space he/she inhabited (mostly in shrines located in the forests, which meant that those places were treated with respect and therefore conserved) and also because he/she used various trees as a source of cure for the many ailmen

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Zulu, Edwin. "Interpreting the exodus among the Ngoni people : exodus as narrative concerning origin and migration negotiating identity in Africa." Scriptura 108 (August 14, 2012). http://dx.doi.org/10.7833/108-9.

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Wanja, Purity, Alex Wanjala, and Jeniffer Muchiri. "Tradition versus change in a time of pandemic." African Journal of Science, Technology and Social Sciences 1, no. 1 (2022). http://dx.doi.org/10.58506/ajstss.v1i1.53.

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This paper explores the varied and complex ways in which allegiance to traditional beliefs and practices impacts a peoples’ health in time of pandemic. Using Meja Mwangi’s The Last Plague as a launching pad, I seek to examine the role of literature in creating awareness during moments of crisis within a society. This paper narrows down to the complexities and contradictions that come into play in the confrontation between indigenous African traditions and the H.I.V A.I.D.S pandemic as portrayed in Meja Mwangi’s novel, The Last Plague. The paper draws from the sociological literary theory and e

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AĞIR, İlkay. "IN-BETWEEN CULTURE IN NGUGI WA THIONG’O’S A GRAIN OF WHEAT." Toplum ve Kültür Araştırmaları Dergisi, December 23, 2022. http://dx.doi.org/10.48131/jscs.1194293.

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Kenyan writer Ngũgĩ wa Thiong’o is one of the leading names among East Africa’s first generation of writers, that is, those Africans who began to write and publish in English at the end of the colonial era. His historical novel A Grain of Wheat, which is concerned with the achievement of Kenyan independence, explores several issues such as national consciousness and symbols, decolonisation, independence, and neocolonialism. In the novel, Ngũgĩ portrays lots of realistic themes (violence, betrayal, etc.) and describes people’s deep feelings about the colonial world. In this context, this study

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Fraser, James Angus, Ariane Cosiaux, Gretchen Walters, et al. "Defining the Anthropocene tropical forest: Moving beyond ‘disturbance’ and ‘landscape domestication’ with concepts from African worldviews." Anthropocene Review, February 1, 2024. http://dx.doi.org/10.1177/20530196231226307.

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How natural and cultural forces shaping tropical forested landscapes are conceptualised is of vital importance to Anthropocene debates. We examine two concepts: disturbance and landscape domestication. From the perspective of disturbance, humans – whether ancient or modern – are a priori negative for tropical forests, outside of and alien to nature. From this view, the Anthropocene is a planetary scale aggregation of disturbance. A more just vision of tropical forests, accepting anthropogenic influence on biodiversity, would combine ‘disturbance’ with other concepts that capture human agency a

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Kammampoal, Bawa. "LITERACY AND ORALITY: BETWEEN ABROGATION AND APPROPRIATION IN NGUGI WA THIONG’O’S THE RIVER BETWEEN." European Journal of Literature, Language and Linguistics Studies 4, no. 4 (2021). http://dx.doi.org/10.46827/ejlll.v4i4.237.

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Colonizers have used language as an instrument of socio-political and economic control during colonisation. This has enabled them in the process to establish power hierarchy based mostly on linguistic superiority by undermining native tongues. In recent years, theories of postcolonial discourses hold the view that colonialism has fundamentally affected modes of representation of colonised spaces. Through questioning and travestying western hegemonic discourses, writers from once colonised spaces have challenged and subverted the hegemonic power of the colonial language by inserting different s

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BOLAT, Eren. "Hayat kadınlığına giden yol: Ngugi’nin Wanja’sı ve Ekwensi’nin Jagua Nana'sı." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, August 21, 2022. http://dx.doi.org/10.29000/rumelide.1164900.

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Every individual has to make decisions that will significantly affect their destinies/futures at certain periods of their lives. Sometimes they take these decisions in line with their own wishes, and sometimes have to take it because of external factors and against their own wills. Kenyan writer Ngugi wa Thiong’o’s Wanja and Nigerian writer Cyprian Ekwensi’s Jagua Nana, who are the subject of this study, also make decisions that will change the course of their lives in the end and they begin to live by means of prostitution. Both characters choose this profession for separate purposes/reasons,

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Gbilekaa, Saint E. T., and Olympus G. Ejue. "RETHINKING THE HUMANITIES IN THE CONTEXT OF INTERTEXUALITY AND ADAPTATIONS WITHIN THE DIASPORIC CONSTRUCT." International Review of Humanities Studies 6, no. 1 (2021). http://dx.doi.org/10.7454/irhs.v6i1.307.

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Drastic socio/political and economic changes in the world have perhaps led to global mass migration, transcontinental transport or scattering of people away from their established or ancestral homeland. This obviously explains the vitality that has characterized the creative impetus of intertextuality and adaptation mechanics used by certain Nigerian diaspora dramatists over the years as group identity formation and social pattern of identity politics and cultural belonging in expressing universal human concerns. The question however is; has the adaptation of classical or historical plays to t

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Emilisco Jones, Dr Enoachuo. "The Sociolinguistics of Kenyang Names: Phase One." Addaiyan Journal of Arts, Humanities and Social Sciences, May 28, 2021, 30–37. http://dx.doi.org/10.36099/ajahss.3.5.4.

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Kenyang is a language spoken in the Manyu Division in the South-West Region of the Republic of Cameroon in Central Africa. It has an increasing population of over 65.000 speakers spread out across three sub-divisions in two divisions of the South-West Region; Manyu division, in Upper and Central parts; and Koupe Muanegouba, at the west part of Nguti sub-division. The language is developing and has a written code (Latin script) but dominated by English graphemes for popular readability. Neighbouring languages result to three dialects; Upper Kenyang (“Kɛnyaŋ mfay” or Haut Kenyang); Lower Kenyang

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